以＂记纪神话＂为研究对象,论述了日本神话中太阳神的诞生与死后复出、太阳神由自然神和动物神演化为天皇氏族祖先神的过程、太阳神与稻作民族和祭司的关系。认为日本各地的氏族原先有自己信仰的太阳神,后来随着天皇氏族掌握政权,其信仰的天照大神替代了其他氏族信仰的太阳神,成为天皇氏族的祖先神;她是稻作民族的守护神,是太阳神的祭司死后被升格为原先自己所祭祀的神祗的结果。

Based on the myths of the Anecdotes of the Ancient Time and the Historical Records of Japan, this article makes a study of the Sun God of Japan from the perspectives of the birth and rebirth, the evolution of the Sun God from a Manitou and animal god to the ancestral god of the emperor of Japan, and the relation of the Sun God and the nationality of rice farming and the priest. The clans of Japan had their own sun gods and when the clan of the emperor came to power, its Amaterasu took over the sun gods of the other clans and became the ancestral god of the emperor of Japan, the god of the rice farming nationality and a god that originates from the priest of the god.

民间信仰植根于民间社会,有着深深的地域性、社会性的烙印。本文通过对一个鲁东南乡村的祭祀与丧葬仪式的考察,着重探讨庙宇与神灵和祖先崇拜之间的关系,进而发掘出其中蕴含的民间信仰与生活传统。

Folk beliefs are rooted in civil society,with deep regional,social stigma.Worship and funeral rites of a southeastern Shandong village visits,focused on the relationship between the temples and gods and ancestor worship,and then discover it contains folk beliefs and living traditions.

祖墓风水对客家民间社会的影响既深且广。客家人入桂时，有背负父祖骸骨随迁的丰富记载。广西客家祖墓有骸骨葬、衣冠葬、银牌墓及招魂葬等多种类型。祖墓不以有无祖先骸骨为条件。客家祖墓风水信仰，具有精神归宿、文化认同、精神激励、道德教化等极其重要的宗教功能，是祖先崇拜的支柱之一。客家二次葬或多次葬习俗的形成，是客家民众在精神需求的前提下多种因素综合作用的结果。客家祖墓信仰宗教圣境之建构，与灵魂观念、祖先观念、土葬与墓祭习俗、风水观念，以及民众的宗教需求等相关。

The locations of ancestral graveyards have greatly influenced the local Hakka people. There were many such records as that the Hakka people ever carried their ancestral bones with them when they entered Guangxi. The ancestral tombs of the Hakka in Guangxi can be divided into tomb of bones, tomb of clothes, silver-tablet tomb and spiritual tomb. The ancestral graveyards are not based on whether there would be bones or not. The Hakka people’ s belief in ancestral graveyards are characterized with such religious functions as spiritual home, cultural identity, spiritual motivation and moral education, which is the backbone of ancestral worship. The custom of burial for a second time or more is resulted from the diversifying spiritual elements of the Hakka clan. The Hakka people’ s belief in ancestral graveyard is a mixture of idea of spirit, idea of ancestor, custom of burial and memorial, idea of location and religious need.

民间舞蹈是体育学、艺术学、民俗学等多个学科研究的母题,而民间信仰是许多民间舞蹈的重要精神支撑。本文对流传于桂东南客家聚居区的民间舞蹈与民间信仰进行调查整理,为桂东南客家民间舞蹈的保护传承提供依据,为扩充当地学校的体育、舞蹈等教学资源提供参考资料。研究认为:在桂东南客家聚居区流传的民间舞蹈有舞龙、舞狮、舞麒麟、舞春牛、跳禾楼、采茶舞、竹马舞、跳傀僮、打杯舞等,桂东南客家信仰有神灵崇拜、自然崇拜、祖先崇拜和圣贤崇拜等;民间信仰是解读客家民间舞蹈内在精神的钥匙;客家民间舞蹈需要外界的包容,也需要客家人的"文化自觉"。

Folk dance is the motif of sports science, arts, folklore and other subjects. Folk belief provides spiritual support for folk dance. The authors investigated the folk dances and folk beliefs of Hakka in southeastern Guangxi. The research results:there are lots of Hakka folk dances such as dragon dance, lion dance, kylin dance, spring cattle dance, he-lou dance, tea picking dance, bamboo horse dance, puppet dance, and cup playing dance. The Hakka folk beliefs have god worship, nature worship, ancestor worship and the sage worship in southeastern Guangxi. Folk belief is the key of the interpretation of Hakka folk dances. Hakka folk dance need the outside people’s culture tolerance, also need Hakka’s"cultural consciousness".

自“美国印第安文艺复兴”以来，一批具有民族自豪感的作家与诗人把写作当作政治解放的武器，在其诗歌创作中强调对同化的抵制，表达出认同祖先文化传统的愿望。作为当代印第安英语诗歌的代表人物，乔伊·哈娇（Joy Harjo）、西蒙·欧提斯（S1mon Ortiz）以及琳达·荷根（Linda Hogan）将诗歌创造建立在印第安口述文化传统之上，强调土地是印第安的记忆和文化之根，并透过灵性传统彰显异于主流文学的叙述模式、神话体系和信仰体系。

Since American Indian Renaissance, a new generation of Indian writers and poets with a strong sense of national pride takes up writing as a weapon of political liberation, proclaiming their dismissal of assimilation and articulating the desire to identify with their ancestral heritages. As representative figures of contemporary American Indian poetry, Joy Harjo, Simon Ortiz and Linda Hogan infuse their poem-writing with traditional Indian culture such as affiliating with land, storytelling and vision so as to highlight Indian narrative discourse and mythology that are differenting from dominant culture.